{"id":1060,"date":"2023-09-29T08:00:25","date_gmt":"2023-09-29T08:00:25","guid":{"rendered":"https:\/\/papadopoulosnikos.eu\/?page_id=1060"},"modified":"2024-04-29T10:44:15","modified_gmt":"2024-04-29T10:44:15","slug":"sound-landscape","status":"publish","type":"page","link":"https:\/\/papadopoulosnikos.eu\/el\/sound-landscape\/","title":{"rendered":"Sound Landscape Clone"},"content":{"rendered":"<h1><span lang=\"EN-US\" style=\"font-size: 11.0pt; line-height: 107%; font-family: 'Calibri',sans-serif; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi; mso-ansi-language: EN-US; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;\"><strong>Sound Landscape\u00a0<\/strong><\/span><\/h1>\r\n\n\n\r\n<h1><span style=\"color: #ffffff; font-family: 'Zen Dots'; font-size: 30px; text-transform: none;\">Sound Landscape of Virtual Reality<\/span><\/h1>\r\n\n<p class=\"MsoNormal\">&nbsp;<\/p>\n<p class=\"MsoNormal\"><span lang=\"EN-US\"><\/span><\/p><span style=\"color:#ffffff;\"><p class=\"MsoNormal\"><span lang=\"EN-US\">Athens &amp; Epidaurus Festival, duration 60 minutes<\/span>,&nbsp; 2020, Curator Katerina Sperentzou.<\/p>\n<p class=\"MsoNormal\"><\/p><\/span><p class=\"MsoNormal\">&nbsp;<\/p>\n<p class=\"MsoNormal\"><span style=\"color: #ffffff;\"><span lang=\"EN-US\">Sound performance,&nbsp; in conversations with&nbsp; Savina Giannatou &#8211; Primavera en Salonico live performance, titled&nbsp;&#8220;Water Song&#8221;<\/span>, 14 and 15 August 2020.<\/span><\/p>\n<p class=\"MsoNormal\">&nbsp;<\/p>\n<p class=\"MsoNormal\"><span lang=\"EN-US\">&nbsp;<\/span><\/p>\n<gwmw style=\"display:none;\"><\/gwmw>\n\n\n\n\n\n\r\n<p>Unity&#8217;s sound engine supports 3D specialization, which allows sounds to be placed and played in a 3D space. With spatial audio, sounds can appear to come from specific directions and have location effects such as distance attenuation and Doppler shift. This enhances the immersion and realism of the game&#8217;s audio.<\/p>\r\n<p>&nbsp;<\/p>\r\n<p>The practice: Phrases were recorded in the studio from the voice of Savina Giannatou and a database of sounds was created. Sounds are placed in the virtual algorithmic world, on a graphical Cartesian plane, embedded in virtual cubes. With the mouse they move to interact with each other in real time.<\/p>\r\n<p>&nbsp;<\/p>\r\n<p>The conceptual meaning of the algorithmic mechanism is the idea of harnessing technology as a creative tool, blurring the lines between human expression and computational processes. It represents the integration of technology and human creativity in the composition process.<\/p>\r\n\n\n\n\n\n\n\n\r\n<p>Posthuman theory explores the idea of overcoming human limitations through the incorporation of technology and the expansion of human capabilities. The project investigates the limitations of traditional musical notation and instrumentation using computer-based interface and compositional composition. It emphasizes the role of technology in shaping and augmenting human experience and creativity, mediating their creative process, providing new possibilities for sound production and manipulation, blurring the line between composer and machine.<\/p>\r\n<p>&nbsp;<\/p>\r\n<p>It challenges anthropocentrism by recognizing the agency and importance of non-human entities. This collaboration between the human composer and the computer aligns with posthuman perspectives that emphasize hybridity and coexistence. It encourages the exploration of hybrid forms of artistic expression that transcend traditional categories. to combine visual and audio elements, merging the fields of visual art and musical composition.<\/p>\r\n<p>&nbsp;<\/p>\r\n<p>In the research that followed I discovered a tradition of experimental music. <a href=\"https:\/\/zkm.de\/en\/from-xenakiss-upic-to-graphic-notation-today\">The UPIC System (Unit\u00e9 Polyagogique Informatique CEMAMu)<\/a>. Composer Yiannis Xenakis developed the UPIC synthesis tool in an attempt to turn drawings into synthetic sound in the late 70s.<\/p>","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"pagelayer_contact_templates":[],"_pagelayer_content":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"class_list":["post-1060","page","type-page","status-publish","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Sound Landscape Clone - papadopoulos nikos artist VR<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/papadopoulosnikos.eu\/el\/sound-landscape\/\" \/>\n<meta property=\"og:locale\" content=\"el_GR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Sound Landscape Clone - 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